A two-part series at the Quad Cinema chronicles the cheaply made and formally rich horror movies that the UK’s Hammer Films began producing in the 1950s.
One Sings, the Other Doesn’t, Varda’s precious and poignant feminist musical from 1977 has been restored.
The new Netflix series, based on characters developed by Hello Kitty creator Sanrio, subverts the fantastical expectations of most anime narratives.
We watch Ellen Berkenblit drawing. She is left-handed and uses charcoal. She rubs lines out and never looks at the camera.
The provocative auteur’s latest, The Misandrists, attempts a tongue-in-cheek critique of radical feminism.
The World Before Your Feet follows Matt Green as he spends years walking all 8,000 miles of New York City’s roads, sidewalks, parks, cemeteries, and overlooked edges.
The level of dedication required to see all nine films in her solo exhibition feels both deserved and important, since her films have largely been critically and commercially overlooked.
As a “prequel” look at the Beales, That Summer makes for a fascinating contrast between the icons they have been turned into and the people they were before then.
Windjammer, a movie following a half-year voyage across the Atlantic, used a brand-new extreme widescreen camera system that hoped to become a new industry standard.
Narrated in Italian by actor Toni Servillo and directed by Claudio Poli, the film somewhat drowsily recounts the madness of the Nazi’s quest to first sanitize, and then steal the art of Europe.
Sara Driver’s new documentary Boom for Real: The Late Teenage Years of Jean-Michel Basquiat wants to bring the young art star back down to earth, but often can’t help positioning hovering him above.
Let the Sunshine In is a rom-com only insofar as our heroine, a successful painter and divorcee, drinks and sleeps with a lot of men and frets about it later; but the laughs are few and the sighs are heavy.